The Visva Bharati Quarterly, Vol V, Part 1, May 1939

THE VISVA-BHARATI QUARTERLY

NewStrit, VoL V, Part 1

1939

Dr. W. Slcde.— • - • Your interesting Concepts of Buddhism.. .This book

of yours Is valuable to me because it gives such a concise analysis of most diffi-
cult terms with a new collection of relevant references from various sources.

Dr. Keith's review in the Indian Historical Quarterly. Vol. XIV, No.1.1938

—The Kern Institute. Leiden, which has already done much for higher Indian
studies has paid a high compliment to Dr. Bimala Churn Law in publishing
his monograph on the essential concepts of Buddhism, and the Marquess of
Zetland, whose interest in Indian philosophical thought, is fully attested by his
own work, has borne iust testimony to the merits of the latest addition to his
long series of contri util ions to our knowledge. Dr. Law has once more
followed in his regular path: he has aimed at presenting us with a large maa
of material, carefully chosen, accurately interpreted, and skilfully coordinated,
bearing on the essentia! ideat of Buddhism as it is presented to us especially
in the Pali texts. It is not his airn to present a sketch of the oiignial philoso-
phy of the Buddha or of his history but to clarify our understanding of the
views which became current in the philosophical circles whose discussions and
results are presented to us in the Pali Canon. The advantage of this proce-
dure is obvious. The original views of the Buddha arc unquestionably
beyond our power to determine with any certainty, while we can by careful
examination of the texts achieve a very fair appreciation of the views current
among his followers or at least one important branch among them.

On tit is basis Dr. Law adheres firmly to the actual assertions of the texts
.... A careful study of Dr. Law’s evidence will show that in this form of
Buddhism we are far removed from a comprehensive or consistent metaphvsic
of any kind. As a presentation of Buddhist views as they were, as opposed to
a reconstruction of what they can be transformed into by the application of
modem categories of thought. Dr. Law’s work is of permanent value.

The Amrita Bazar Patrika .-This treatise, as the title indicates, outlines the
doctrine of Buddhism in its principal concepts. The author presents in this
small volume a scholarly analysis of the essentials of the doctrine of Buddha,
‘Dhamma* and ‘Ntbbana.' His comparative cxpi.iiiion of 'Dhamma.' based
on textual references, is unique, 'Nibbana' is an attainable state equivalent to
non-existence— a state in which the individual is wholly unrelated to anything
to which in life as we know it, we can apply the term ‘object’

Besides a lucid exposition of what constitutes die central point of
Buddhism. Dr. Law has placed in his book equally lurid interpretations of
other import am concepts, vi/. 'Sarapa,' ‘Paranoia,’ 'Ariyasacca.' ‘Ariya
A ( (h an gik a- M agga, ' 'Jhana.' ’Puggala,’ ‘Papccasamuppada,’ and ’Kamrna.'

The book will help an enquirer a good deal in undemanding what
Buddha's religion is.

Dr. E. J. Thomni .—You are to be congratulated on the production of Concept s
of Buddhism by the Kern Institute and- the Marquess of Zetland’s graceful
compliments. Perhaps writers like Schavcr and Masuda who hold very difira-
ent views will think that the last word has not been said.&tif you have certainly
given them something to think about, and you have certainly raised she con-
cepts from the previous misunderstandings in which they were once confused.

XU

in. THE BUDDHIST CONCEPTION OF SPIRITS

( Revised Edition )

Price Rs. 3

Dr. F. W. Thomas— It was an original subject for a special memoir and one of
interest as wide as humanity. You have made a pleasing book, equipped with
good quotations and references and showing well how the B uddhis t succeeded
in investing this subject also with a congenial aspect of their own piety.

Dr. L. D. Barnett — It « an excellent work Illuminating a side os Indian menial
life which it really important and yet lias been much neglected by previous
scholars. I am very pleased to see that the value of your book has been
recognised by the public and a second edition called for.

Dr. E. J. Thomas .—I must congratulate you on its reappearance as well as the
beautiful aspect of the new edition.

Lord Zetland .—May I take this opportunity of congratulating you upon the
success of the volume ?

The New Review, September, 1937 —In this short but substantial book Dr.
B, C. Law tells us all that is known about the Buddhist belief in prefer, the
spirits or ghost, of tlse unliappy dead. The origin of the belief, its definition
and description, the pie las and their state, stories about them, and die moral
purpose of these stories— nothing has escaped his scholarship. The result
u a volume which no anthropologist, and especially no student of India's
popular religion, can aflord to neglecc.

IV. GEOGRAPHICAL ESSAYS, VOL I.

Comenu (i) Geographical data from Sanskrit Buddhist Literature, (a)
South India as a rrntre of Pali Buddhism, ($) Geographical data from the MahA*
vaihsa and its Commentary, {4) Dami]a and Daruijarauha, (5) Mountains and
Riven of India, (6 & 7) Countries and peoples of India and Appendix to wrac,
(8) Kaoilavastu, (9) Buddhist cave temples in India, (10) Sacred places of the
Jains, and (11) Sacred places of the Vat<pava%. Indrx. Price Rs. 3/8/% To be
had of the author, 43, Kailas Bose Street, Calcutta and Messrs. Lurac & Co., 46.
Great Russell Street, London.

Dr A . B. Keith,— It is a most valuable collection, rich in accurately stated and
carefully collected facts, and lays all students once more under a deep debt of
gratitude.

XIII

Dr. L. D. Barnett .— It i* a ically valuable digest of information, which I
am very glad to possess.

Mr. Oldham. -Your careful and persevering researches in this respect will
help very materially towards the preparation of a rauch-nceded work, an Atlas
uf the ancient geography of India, which should contain maps of the continent
at different period* of it* parly history. For die period of the Buddha you have
already collected practically nil the references available.

The Hindu.— Dr. Law, who is already known to the world of scholars as
the author of a ' History of Pali Literature/ * Geography of Early Buddhism '
and ocher interesting treatises on subjects relating to Ancient Indian History,
lias collected in this volume, in a revised and enlarged form, his articles published
trom time to time in various journals relating to the Ancient Geography of India,

Burma and Ceylon Dr. Law naturally deals at some length with the history

of the Madhvadcsa so far as it relates to the Buddhistic period. One interesting
and noteworthy observation made by the author in this connection is that the
name dlpa applied to the ancient dipas in the Laiitavijtara and allied literature
is obviously used in the sense of a country. Another point noticeable here is
that the names KcJi anil Rardnasi referred respectively to a country and a city.
The pacing references made to the other janopadas of the Jambudipa are al%o
very informing. Interesting arc the references to the Airair.a of Vaxijtha in the
kingdom of the Mallas. Of interest to the Pauranic geographer is the rcicrcnce
to the places like RamagrOma in the land of the IColivas where the eighth stupa

and a caitya were erected by Aioka^ An inter-sting fact noticeable in these

references is that Tanja (Tanjore) U stated to have been in Tambaratrha of
which the author Dhajnmapala was a native. An entire chapter is devoted to
KapiUvauu bringing together tn one place all that is Buddhtstically connected
with it. Chap. IX devotes itself to a description of the several Buddhist cave
temples of India. The work is on the whole helpful as it brings together all
that could be readily desired to be known concerning the anden: geography of
the country.

Kausambi in Ancient Literature

By Dr. B. C. LAW, M.A., B.L., fii.d.

(A.SJ. Memoir No. 60. Published by the Gout, of India.
Price Hs. i-io).

Contents: Antiquity and origin of the name General description and
topography-The VaSas or Vatsas and their land-Political hlstoiy of Vatsa-
Uuayana, ha parents, queens and childrcn-Vatsa and Kauliitibi in religious
hitiory— Index. (Three plates and * map).

OPINIONS

Mr. C. E. A. W. Oldham This and the preceding Memoir on Rdjagrha
are of the greatest imereti and of special value for the detailed references to
the Brah.. Bud. and Jaina literature. . .

XIV

Index to Vou V- New Sejues

( Arranged according to titles of eniolea )

Tit;*

Pant

Title

Page

AnUr-Devsta

391

Man and Woman

305

Art and. Dsdly life

66

Mountains

89

A Bas Relief

32

Parishodh

2

Basic Education and

Pearson, W. W.

33

Gtndhisn Philosophy

820

Peace

61

Bharoti Sarabhni, Poetry of

334

Pesoe Movement for India —

Caste in Indin — Origin

253

A common

359

Country of the Geos

129

Philosophy the Age r&auires

167

Darn Rhikuh

2T5. 365

Plants from China

860

Democracy and Non-

Poems, three

114

Violence

853

Rabindranath Tagore

1

Desire for a Human Soul

Rabindranath and Asbrama

Dense. John

180

of Early day a

W

Gandhiji on Machine

34

Rabindranath Tagore’s ideuliars

203

Gaodhiji on Industrialism

Renascence

41

A Machinery

237

Sa.'vota

297

India in a Federal Onion of

8aohal

176

the Nations

346

Serf to Comrade

169

Interpretation of Meaning

8

Speaker ffon'W

143

Indian Federation

876

Stray Thoughts Reoalled

142

Jogu, the gardener

47

Song from the Khaifcer Pass

201

Looking Back

101. 266

Tagore and Generations

Urg#.got!» and Cottage

to come

27

Industrie*

949

Tyranny of Foreign Word*

117

ifaitri-Sadhaiui

216

Words as Sounds

69

Index to Vol. V. New Series.

( Arranged according to

’ authors )

Naro«

Pari

Pat*

Adbikarl, P. B.

II

16T

Advani, T. H.

I

69

Atari i, d' B. H.

I

32

Andrews, C. F,

I

1,88

Aronson, A.

I

8

"Asia lieu*”

n

129

BbaUocharya, Kbagondranath

IV

376

Bikramjit Haarat

m, iv

870, 866

Boao. Nirmal Kumar

im

8i, 237

Cbairrararty, Amlya

i

41

Dhingra, Bsldooo

i

89

E»ola. J.

IV

306

Kripslani. 3. B.

n. iv

117, 330

Kripalani, K. B.

IV

80S

Lanahury. Gnorgo.

i

61

Malllk. Gurdial

n

176

Mokherjae, Baoodabebari

i

60

Mukberjee. Dhurjati

i

27

Mukhopadhya, 8ujit Kumar

m

210

Naidu, Saro;inl

m

201

Nehru, Jawaharlal

m, iv

249. 346

Baju. P. T.

ni

903

Seh, F. W.

IV

850

Ban. Kehitimohan

i. m

CO, 258

Bpeigb!. E. E.

n. iv

114, 834

Sooheta Devi

n

159

Bykaa, Marjorie

IV

859

Tagore. Rabindranath

i. n. ni. iv

2, 47, 142, 148
286, 991. 997

Tagore, Bathiodrauath

h. ni

101, 266

Zuberi, Itrat Hussain

ii

THE VISVA-BHARATI QUARTERLY

M*y New Series, VoL V, Part I

1839

TO RABINDRANATH TAGORE

Dhar loved one, all the -waves of this wild sea.

This restless, cage! and tumultuous heart,

Rise with a surge of joy to welcome thee.

And ebb in desolation when we part.

When thou art gone, their long-withdrawing roll

Sounds in each sheltered bay and distant strait.
Filling the sky with dirge from pole to pole.

And leaving half my life disconsolate.

But when thy name i6 called, or one dear word

Comes from thcc, suddenly the waves leap high.
The myriad laughing waters all are stirred,

The floods lift up their voice exultantly.

Ah, friend, if thus the surface currents move,

Deep down, how still, flows the full tide of love.*

G F. Andrews.

• This sonnet was written for Babicdranath Tagore’s birthday nearly
twenty years ago, but was revised by the author and given to the Poet, on
hla 78th Birthday this year.

PARISHODH

RETRIBUTION
By Rabindranath Tagote

[ The following is a mort or less literal translation in prose, by Kshitish
Roy, oj tbt original narrative pom written in September iffy. Tbt
poem bas also beer, dramatised and set to music by tbt author and was
recently staged in Calcutta under tie tills of Shyama.

The theme is tbs tragedy of love’s passionals and blind egoism,
which unscrupulously sacrifice: every otlssr happiness to its own, only
to find that it has thereby lost its right to bappinsss. Shyama, the
beautiful courtesan, is struck with the looks of Bajrastn, a handsome
foreigner, who is innocently arrested and condemned to death. To
possess him she saves his lift by allowing one of her admirers to sacrifice
himself in his place. Tbt grateful foreigner easily turns Shyama' s
lover, but when be comes to know of her inhuman conduct by which
she procured his freedom, be is filled with disgust and shame and
leaves her.

Lrn is not enough, nor is Desire a law unto itself ; for man is
a moral being and may owe allegiance to standards of virtue and justice,
independent of his desires. If the needs of love cannot be reconciled
with his moral being, then bis personality splits into two warring
selves and, instead of happiness, Ms satisfaction may bring frustra-
tion. That is what happens to the handsome foreigner who loves
Shyama and is grateful to her for his life and yet cannot forgive her for
violating the dignity of bis inner moral self by purchasing bis life with a
crime . The moral law working through him brings the nemesis, the
inevitable retribusion, to the unfortunate heroine, so devoted to her
lover, so guilty to humanity.

The theme is taken from an old Buddhist legend of Nepal, “
where it is given as “ the reason why Buddha abandoned bis faithful
wife Yasodbara .... Buddha was that Vojrattna, and Shyama,
Yasodbara." — Editor.]

* E« SaneStri, DwOiet biUraS^. oj Kfpai. by mtr». ». 1BJ.

PAJUBHODH

5

"A theft in the King’s Treasury I The thief or your head 1”
So ran the royal behest to the Captain of the guards. For fear
of the royal threat guards scoured each street and searched every
house for the thief.

Outside the city gate, in the crumbling ruins of a temple,
they found Bajrasen, a Taxila merchant, who had come to Kashi
to sell horses, and robbed of all his belongings by highwaymen,
was trudging back home with a heavy heart. Taken for the thief
and bound in iron shackles, he was being led to the prison by
the Captain of the guards.

At that time Shyama, the beautiful courtesan, was sitting
by a casement, amusing her idle hours with watching the passing
scenes below. Suddenly she started and cried to her maids-in-
waiting, “What a handsome man — a veritable rival of the king
of gods I Alas ! Why is he chained like a common criminal ?
Go, my friends, to the Captain and beg him, in my name, to
honour this place with his captive.”

A call from Shyama, the beautiful, sent a thrill of joy through
the voluptuous heart of the Captain and forthwith he hurried to
Shyama’s place with the captive behind him. Smiling the
Captain said, “Why this sudden favour to this humble admirer
of yours ? Allow me to hurry on the King’s service.” Suddenly
raising his head, Bajrasen, his face flushed with indignant shame,
asked, “What sport is this, fair maiden, adding insult to the
injury of an innocent foreigner ? Was I led hither to be humilia-
ted out of mere flippancy ?” “Alas I” replied Shyama, “No sport
is this, strange wayfarer. On the contrary, so overwhelmed
am I by your misfortune, that fain would I exchange these
ornaments of mine for your chains. Your humiliation I feel as
mine.” So saying, she seemed to wash away the stranger’s
shame with her flowing tears. Tnen turning to the Captain she
pleaded, "Take my all and set free this innocent man wrongly
accused.” “So impossible a request,” answered the Captain,
“1 dare not entertain, O beautiful one. The King is furious and
some one’s blood must appease his wrath.” Shyama took the

4

THE VISYA-BHARAT1 QUARTERLY

[ 1 * 39 .

Captain’s hands in her own and implored. “Allow the srrangcr
two more nights at least.”

"That shall be done," said the Captain, as he led his
prisoner away.

On the second night the dungeon door was suddenly
opened to let in a woman with a lighted torch in her hand. In
a comer, heavily fettered Baj risen was awaiting in prayerful
silence the fateful mom to dawn. Ac the woman’s glance, the
guard removed the chains from the prisoner's limbs and the
amazed foreigner saw before him the fair face of Shyaraa, delicate
and luminous as a full-blown lotus. Profoundly moved, he cried,
“Who are you, who have come like the goddess of dawn with
the morning star in her hand, to dispel the nightmare of this
dungeon ? You who are come like the breach of life to one
dying, how am T to know you — the one merciful goddess in this
cruel town?”

“I, merciful !" A bitter, hysteric laughter broke from her,
filling the cell with awe. Laughing and sobbing, she cried,
“Not one stone in the dungeon is harder rhan this heart of
mine.” So saving, she took hold of his hand and led him out
of the prison walls.

The dawn was breaking over the forest-top in the cast,
beyond the banks of the river Varuna. A boat was moored,
and leading him on board, Shyama whispered, “Come, stranger
from foreign land, let us sail on the same current, recking no
bar. Let me accept you as the lord of my life.” The boat was
set adrift. From either side of the river came joyous notes of
warbling birds. Clasping her face dose to his breast, Bajiasen
asked, "Tell me, what price did you pay to purchase my
freedom ? I want to hear it all. beloved, to know to what
extent this miserable self is indebted to you.” Nestling close
Shyama murmured, “Let that alone now.”

Backed by a lusty breeze, the boat sailed by swiftly on the
hurrying current. Midday came. The village women had already
gone back to their huts after their bath in drenched clothes, car-

PARISHODH

5

eying Holy water in brass pots. The market place was empty and
silent, the pathways were deserted. Fastening the vessel to the
worn-out steps under an ancient tree, the two made preparations
for theix bath and food. Above, the foliage was heavy with nests.
The birds wexe without a twitter. The crickets lazily chirped
away the long noonday.

A gust of warm wind, fragrant with the smell of ripe corn,
fluttered away the veil from Shyama's face. Sudden passion infla-
med Bajrasen’s being and in a choked voice he poured broken
words into Shyama's ears. “You brought me freedom, only to
make me a slave for ever. I owe you my life, and with my life
shall I repay this debt, — only tell me how you procured my
freedom.” Replacing the veil, Shyama murmured, “Let that
alone now.”

Silently were the golden sails furled, and as the boat of
light glided down to the haven below the western mount, the
lovers’s boat was wafted by the evening breeze to a wooded bank.
The crescent moon was dying ; a dim glow glimmered aslant
upon the smooth surface of the water. The twilight shadows
quivered with the song of the crickets, like the strings of a lyre.

Shyama put out the lamp and sat leaning on the shoulder
of her companion, while the southern wind mingled with her
hot breath. Like a mysterious magic web, the scented mass of
her black wavy hair covered his chest. Shyama whisperd, “What
I did for you, my love, was difficult indeed, but far more difficult
is my avowing of it. The few words 1 shall speak, forget them
as soon as you have heard them. Uttiya, a mere youth pining
in a hopeless love for me, took upon himself your punishment
to oblige me. This, the worst crime of my life, I have committed
for your sake, and let that be my glory, O you best of
men."

The dying moon had disappeared. The forest trees stood
mute with the slumber of countless birds. Slowly the arm encir-
cling Shyama’s waist was withdrawn, and relentless separation
yawned betwen the erstwhile lovers. Like a statue of stone Bajraseo

s

THE VISVA-BHARATI QUARTERLT

1 3ta v. 1993

sat motionless. Shyama threw herself at his feet and lay there like a
creeper torn asunder. Darkness deepened over the inky surface
of the river. Suddenly clasping Bajrasen’s knees with all her
strength, Shyama cried in hoarse, tearless sobs, “Forgive me,
beloved. Let providence heap the cruellest retribution upon this
cursed guilt of mine I But you must forgive what 1 did for you.”
Shaking his t'cet free and gazing fixedly at Shyama, Bajrascn said,
“What need had you to save this life of mir.c ? Forever is my
breath polluted with the memory that it was purchased with your
crime. Dishonourable woman, cursed be this life that is indebted
to your shame.”

So saying he broke away and disappeared into the darkness
of the deep forest, startling at each step the bed of dr) 1 leaves.
The heavy scent of foliage hung upon the morionless wind. In
the encircling gloom the hordes of branches assumed grotesque
and ghostly forms. The dense forest with its chain of ciecpeis
stretched its hands in a silent prohibition. The worn-out
traveller sank on the ground wearily.

A spectral form stood by him like a shadow. Silently she
had hung upon his footsteps through the long and arduous path
in darkness, her delicate feet covered with blood. Shaking his
Sst, Bajrasen roared in anger, “Will you not leave me alone >'
Quick as lightning the woman clung to him, his body enveloped
and flooded over, as with a torrent, by her embraces, her sweeping
hair, her bu rn i n g kisses and sighs. Speechless with emotion she
could only murmur, “Never will I leave you, For you I have
sinned and from you must I receive my final retribution or
recompense.”

What blind intuition of an impending horror made the
dumb trees in that starless gloom shiver in awe I A last mourn-
ful appeal before the woman’s voice was smothered, and with a
dull thud a form rolled over the ground.

As the first glimmer of dawn gilded the tridents on tfic
temple top by the holy river, Bajrascn wended his way back from
the forest. In glass-eyed madness he spent the livelong day

P.mSHODH

7

wandering aimlessly on the lonely bank. The midday sun lashed
him with its fiery thongs. Peasant women returning home with
their pitchers were touched by his desolate look and called to him
in tender tones, “Who arc you, O homeless one ? Welcome to
our abode !” No response came from him. His throat was par-
ched with thirst but be touched not a drop from the nearby
river.

After the day was done, his body burning with fever,
Bajrasen hurried towards the boat that lay moored where the
lovers had left it, even as the moth hurries to the flame. His
glance caught an anklet lying on the board. He hugged it to his
breast, its jingles cutting into his heart like a hundred barbed
arrows. On one side lay her blue dress thrown in a heap. He hid
his face into its folds, hungrily breathing in the lingering aroma
of her delicate limbs.

When the setting moon flickered through the branches
of the seven-leaved tree, Bajrasen stretched forth both his
arms towards the dark forest and called, "Come back to me, my
beloved.”

On the sandy bank appeard a shadowy form like a ghost
among the ghostly trees. “Come back to me, beloved I” cried
Bajrasen. “Here 1 am, my lord I” So saying Shyama flung her-
self at his feet. "Forgive me, for your pitying hands, alas, could
not stifle my stubborn breath.” For an instant Bajrasen gazed
at her face and made as if to gather up her prostrate form in his
arras, but a shiver woke him from his trance and pushing her
away he thundered, “Why did you come back ?” He flung aside
the anklet and kicked at the blue garment as if it were a heap of
burning embers. He closed both his eyes and turning his face
the other way cried, “Away, away 1 Leave me alone.” Shyama
stood still for a while with bowed head, and then kneeling, bent
her forehead in obeisance. Descending from the bank she siowly
walked away into the darkness of the forest. Like an unearthly
dream that disturbs one’s repose for a while, she vanished into the
blackness of die night.

INTERPRETATION OF MEANING

Dr. A. Aronson.

The teacher of literature has constantly to ask himself the follow-
ing questions : what do we know about the artistic experience of
the writer ? what impulse drove him to put down his emotions or
thoughts in the form of a poem, a novel, or a play ? what
docs this word or that mean ? is it a definite expression of his
mental and emotional state, or only a vague stimulus for the
reader’s own emotions and thoughts ? is this meaning identical
with the original experience or only a memory, a reflection of
some psychic image in the poet’s brain ? and if, finally, this or
that word signifies something, how can this significance be
communicated, translated into our own language and modes of
speech ?

Most of the recent books on the meaning of the artistic
experience do not reckon with the second problem ; they attempt
a metaphysical investigation into the depths of artistic creation,
the creative process itself. The reader is inclined to lose him-
self in the various theories on the origin of art, on intuition as
the life-giving force of all creation, on the synthesis of intellect
and emotion in all works of arr, and on the collaboration of body
and mind in creative activity. All text-books on philosophy and
aesthetics abound in such vague abstractions ; instead of guiding
the student towards an intelligent understanding of the function,
scope, and limits of the creative process, they arc contended with
a shallow kind of metaphysical mystification :

“Aeatbetos investigate tbo meaning of aesthetic pleasure ; the objec-
tive or eubjeefciro ebaraetor of beauty, and tbo nature o: beauty itself, and She
origin and nature of tbo art impulao. , . .Literature. . . ( it ) a rc/uge for tbo
tout -wearied with cbe daily cares cf bunitm or politioi or prcfeirional

am*." i

1. O. r. W. Patrick : l> P\ iiwophy. London, n. d. , oh*p. XXIX,

p. 4&tq. I The italic* in »Me arrf all tfc« lol loving soolaUooa are mine. )

INTERPRETATION OP MEANING

9

A more scientific analysis of the art-impulse than those
attempted in text-books will, however, not bring u$ any nearer to
a solution of the problem of Meaning :

"Some acieal experience which icnda a atrong impressisn on tho
writer hrd /lined up a numety of to earlier experience, generally 'oolonging
to cbi!dboo5, which then arouses a wish that finds /u/filvetil in the work in
Question, and in which dements of the recent event and the old memory
should ba dincornible."!

Perhaps, if we knew all about the "memory of an earlier
experience” the meaning of the work in question would become
intelligible, and not only of a whole poem, but of each and every
word used by the poet in "fulfilling his wish” ; and even would
we subject every poet to a psycho-analytical treatment, the result
( the verbal meaning ) will be as obscure as before to most of
the readers. The poet’s use of language can be compared to a
psychopathic reaction of the individual to the stresses of exis-
tence ; the “stirred-up memory” and the “fulfilment of his wish”
ate beyond the average man’s understanding ; the poet works
with the help of "flashes of insight beyond meanings already
stabilized in etymology and grammar. Hcncc the role of litera-
ture ... in finding linguistic expressions for meanings as yet
unexpressed.”* Prof. Whitehead shows quite dearly that an
analysis of the creative process will not bring us any nearer to a
proper interpretation of meaning, especially when he says that
"the truth of supreme Beauty lies beyond the dictionary meanings
of words .” 8 If the dictionary cannot hdp us, perhaps the rea-
der himself may give us a due in his attitude, reaction, and res-
ponse to the poet’s work. For there is no doubt that Meaning
as such cannot exist, unless it be in the reader’s "mind”.

The very existence of a poem, despite all the intricacies
of meaning, proves that it is a vehide of communication between

1. Biamuoa Prowl : TV. MM** Ih* Pul to Dau-drtaniitc. Ccfl.rDperi.Vol.
IV. 1996. r- IBS.

2. 1 ». WUMbai . Adrer.tfti n' litat, 1W3, p. 991.

n. /Aul.p.wa

2

IO

THE VKVA-BHARATI QUARTERLY

[ uat, mo.

one mind ( the poet ) and a number of other minds ( the rea-
ders ). In order that a communication should be successful, there
must be some common basis of experience, which would form
the contest within which the communication occurs. Under the
most favourable circumstances the poet’s and the readers’ experi-
ences will be similar, and communication between the wo minds
will be easily established. The common basis for these experien-
ces will, in die case of a poem, be attitudes, not references. If
there is a similarity in attitude between the poet and the reader,
the latter will be able to respond to the work in question as a
whole and in a coherent way. The ordering and organizing of
his own experience will in some way be similar to diat of the
poet. And there will be no considerable difficulty as to the
meaning of the poem.

Observation has shown diat this common basis is, in most
cases, absent. The poet’s mind and attitudes arc foreign,
unconceivable, and unintelligible. All that the reader can do is
to “open" his mind to these new stimuli from outside and to
respond to it in one way or another. The way in which he
reacts will be a standard for measuring whether he has “under-
stood” the meaning or nor. Understanding, in this context,
could therefore be measured in terms of attitudes and responses :

"We mty say. then. eLaA % person andoiBUoda » word, if .... the tfecU o'
the word are the same as thoee of whab it is said to mean." 1

There are, however, several obstacles that prevent us from
“understanding” the meaning of a word as measured by its
"effect" upon us. The one is the context in which the word
occurs which will add a certain number of different stimuli to
the firsc one, and the other is the traditional and cultural setting
in which and according to which the word is used by the poet ;
the reader, therefore, has to respond, not only to one stimulus,
but to a complex variety of stimuli, all of them expressing
attitudes of a new and frequently unexpected kind. Meaning

L B. ButaUl : An Ouiliru af PMlwmXy, Ch«p. IV. p. 46. 189T.

I NTERT RETATIOM OF MEANING

II

as determined by stimulus alone will always remain unsatisfactory
and will not carry with it a proper "understanding” of the work
in question.

Before speaking about setting and context, we have to
consider the difference between a scientist’s or philosopher's use
of language and that of a poet. Only if this distinction is
established can we approach the problem of Meaning with regard
to poetry. In the scientific use of language statements may be
either true or false ; in poetry it matters very little ; the sole
junction of statements in poetry is to bring about attitudes and
appropriate and relevant responses :

"We may either aw words for she roforoooea they promote, or we may u»
them for (bo sabo of the atritodoo and emotions which ansae. Many
arrangements of wordr. evoke attitude* without any references being required
cn route. They operato like musical phrases. But usually references are
involved an conditions for. or stages ia, the ensuing development of attitudes,
yet it is still the attitudes not tho references whtoh are impartuct."*

To use metaphors in a scientific statement would be dangerous
and misleading ; yet, it seems, that in poetry metaphors are
frequently the most definite and explicit way of expressing one’s
attitudes and emotions. In order to express a personal reference
language will have to be used in an emotive, not a scientific or
logical manner. It is this difference between a subjective and
an objective reference in language that makes purely linguistic
considerations of language so unconvincing :

"By reason of its phoooteo* and morphology, a language has w existence
of its own, tndtpmdtnl of the psych io tendencies of tho speaker. His
language comes to him as something already organised, like u tool put into
bis baud .... It is always the same instrument, and tho buainose of tho
linguist lies prccisoly in atudying the essential and permanent qualities of
this instrument." 3

Such a statement is probably right as regards the scientific use
of language ; it is, however, very misleading if applied to the

I. I. A. Richard. : PrrtapU* If UUrart CfOlotm, 1880. y. 867.

8. 1. Vend tyro : a ZMjuUUe tiUrabiifi on U BiOory, 18S6, p. 866.